Ctehings and Be oncitts 


the collection of 


Budson H. Dutcher 


of Ellenville, R. VB. 


| James A. Whistler Anders Zorn 


D. B. Cameron Joseph Pennell 
Div F. Sepmour Haden Felix Wubot 
Charles Werpon Paul Fiajon 
and 
Drawings 


by €. A. Abbey and Warfield Parrish 


ey 


Che Anderson Art Gallertes 
12 Cast 46th Street 
Mew Work 


IG 


Etehings and Drppoints 
the collection of 


Pusson SH. Dutcher 


of @ilenville, R. 2. 


James A, Whistler Anders Zorn 
D>, 2, Cameron Joseph Pennell 
Sir F. Sepmour Haden Felix Wuhot 
Charles Derpon Paul Rajon 
and 
Drawings 


bp €. A. Abbey and Warfield Parrish 


Oy 


The Anderson Art Galleries 
12 Cast 46th Street 
Pew Bork 


: ‘AGGIY “VY NIMGW Ad “HA TAQ THY, 


No. 894 


ETCHINGS AND DRYPOINTS 


THE PROPERTY OF 


Hudson S. Dutcher 


OF ELLENVILLE, N. Y. 


WHISTLER’S ‘‘ PRich’s CANDLE Works,” Two UNDESCRIBED FIRST STATES ; 
TriAL Proor or ‘‘THeE Two Doorways”; UNDESCRIBED TRIAL 
Proor oF ‘‘THE GREENWICH PENSIONER,’ AMONG SEVENTY-SIX 
RARE SIGNED PROOFS AND OTHER WHISTLER ITEMS ; 

THE ONLY KNOWN Copy OF THE First STATE 
oF ZORN’s ‘‘ OMNIBUS,” ‘‘ THE WALTZ” 

AND ‘‘THE CIGARETTE GIRL,” 

AND OTHER ZORN PRINTS; _ 


“THe Y, AMSTERDAM” CHARACTERIZED BY CAMERON AS ONE OF ONLY 
Two Proors, THE ‘‘ Five Sisters” ‘‘St. Marxk’s No. 2,” AMONG 
THE CAMERON PRINTS; RaJON’s ‘‘SUZANNA Rose,” TRIAL 
Proor ; Trrau Proor or Hapen’s ‘‘ Myvron Hau,” 

AND First STATE OF ‘‘ON THE TEST’; A PROOF 
or Meryon’s ‘‘ Pont Au CHANGE” ; 


Bunor's ‘‘ Patrres CHAUMIERES,” ‘‘CouNTRY NEIGHBORS”; AND ‘‘BERGERIES’” ; 
AND OTHER RARE SIGNED TRIAL PROOFS, FIRST STATES AND FINE 
IMPRESSIONS ; A DRAWING BY MAXFIELD PARRISH, 

AND Four DRAWINGS IN CRAYON AND 
WasH, BY Epwin A. ABBEY. 


TO BE SOLD 


TUESDAY EVENING, FEBRUARY 14, 1911 
BEGINNING AT 8.15 0’CLOCK. SOE Ps (a low 


On EXHIBITION FROM WEDNESDAY, FEBRUARY 8, 9 A.M. TO 9,380 P.M. 


A 


{At 


The Anderson Auction Company 


12 EAST 46TH STREET 


NEW YORK 


TELEPHONE, BRYANT 271 


ART AND MISCELLANEOUS. 


Conditions of Sale. 


1. All bids to be per Lot as numbered in the Catalogue. 

2. The highest bidder to be the buyer; in all cases of disputed bids 
the lot shall be re-sold, but the Auctioneer will use his judgment as to the 
good faith of all claims and his decision shall be final. He also reserves 
tae right to reject any fractional or nominal bid which in his judgment 
may delay or injuriously affect the sale. 

3. Buyers to give their names and addresses and to make such cash 
payments on account as may be required, in default of which the lots pur- 
chased to be immediately resold. 

4. The lots to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and the remainder of 
the purckase money to be absolutely paid on or before delivery, in default 
of which the Anderson Auction Company will not be responsible if the 
lot or lots be lost, stolen, damaged, or destroyed, but they will be left at 
the sole risk of the purchaser, and subject to storage charges. 

5. To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of purchases, no lot will be delivered during the sale. 

6. All lots will be exposed for public exhibition two or more days 
before the date of sale, for examination by intending purchasers, and the 
Anderson Auction Company will not be responsible for the correctness of 
the description, authenticity, genuineness, or for any defect or fault in or 
concerning any lot, and make no warranty whatever, but will sell each lot 
exactly as it is, without recourse. But upon receiving before the 
date of sale expert opinion in writing that any lot is not as represented, 
the Anderson Auction Company will use every effort to furnish proof to 
the contrary, and in default of such proof the lot will be sold subject to 
the declaration of the aforesaid expert, he being liable to the owner or 
owners thereof for damage or injury occasioned by such declaration. 

7. Terms Cash. Upon failure to comply with the above conditions 
any sum deposited as part payment shall be forfeited, and all such lots as 
remain uncleared after twenty-four hours from the conclusion of the sale, 
will be re-sold by either private or public sale at such time as the Ander- 
son Auction Company shall determine, without further notice, and if any 
deficiency arises from such re-sale it shall be made good by the defaulter 
at this sale together with all the expenses incurred thereby. This con- 
dition shall be without prejudice to the right of the Anderson Auction 
Company to enforce the contract with the buyer, without such re-sale. 

The Anderson Auction Company will afford every facility for the 
employment of carriers and packers by the purchasers, but will not be 
responsible for any damage arising from the acts of such carriers and 
packers. 

THE ANDERSON AUCTION COMPANY, 
12 East 46TH STREET, NEw YORK. 


Priced Copy of this Catalogue may be secured for 50c. 


ILLUSTRATIONS 


Abbey (Edwin A.)——The Evil Eve (Frontispiece) 
Abbey (Edwin A.)— The Skeleton in Armor . 
Cameron (D. Y.)—The Y, Amsterdam 
Cameron (D. Y.)— St. Mark’s No. 2. , 
Haden (Sir F. Seymour) —Mytton Hall 

Rajon (Paul) —Suzanna Rose 

Whistler (J. A.)—Price’s Candle Works. 
Whistler (J. A.)—Greenwich Pensioner. . , 
Whistler (J. A.)—The Doorway . 

Whistler (J. A.)—Fanny Leyland . , 

Zorn (Anders )—The Omnibus . 

Zorn (Anders )—Mrs. Kip 


No. 73 


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NOTE. 


MORE than ten years ago Sir Frederick Wedmore 

wrote the introduction to the second edition of his 
catalogue of Whistler Etchings that these prints were so 
scattered and so many of them were and always must be 
so very rare that he would have been unable to compile his 
catalogue without the help of ‘‘ several diligent collectors.’ 
on both sides of the water. Bourcard repeats this state- 
ment in 1903, and the compiler of each of the catalogues 
printed since Wedmore’s has had much the same thing to 
say in regard to the difficulty of forming a collection of the 
etchings and drypoints of an artist who ranks as the great- 
est etcher of the Nineteenth Century. . 

It is therefore an event of more than usual interest 
when one of these great Whistler Collections comes to be 
dispersed. That of Mr. Judson 8. Dutcher, described in 
the following catalogue, has long been known as one con- 
taining many prints of the greatest rarity. The rarest of 
Mr. Dutcher’s prints will be exhibited with the reproduc- 
tions from that catalogue, thus forming an intelligent basis 
for comparison. Among them will be found two unde- 
scribed states of Price’s Candle Works; a superb impres- 
sion of the Second State of ‘‘ The Doorway ” among ten out 
of the twelve composing The Venice Set; the French Set 


complete, including two brilliant impressions of ‘‘ The 


Kitchen ’’; and a trial proof of ‘‘ The Greenwich Pensioner,” 
with Whistler’s annotations. 

Among the prints which make the collection notable are 
the only known copy of the first state of Zorn’s ‘‘ Omni- 
bus,”’ and the equally rare ‘‘ Cigarette Girl”; the wonderful 
detail of ‘‘ The Waltz’’; the ‘‘Y, Amsterdam,” character- 
ized by Cameron as one of only two proofs; his ‘‘ St. Marks 
No. 2”; the exquisite delicacy of the work on Rajon’s 
‘Suzanna Rose’’; a trial proof of Haden’s ‘‘ Mytton 
Hall’’; a proof of Meryon’s ‘‘ Pont au Change,” with the 
imaginative influence of the balloon ‘‘Speranza.’’? There 
are also four drawings in wash and crayon by Edwin A. 
Abbey, and one in pen-and-ink by Maxfield Parrish, exe- 
cuted with the care and attention to detail for which he is 


known. 


No. 894 


ETCHINGS AND DRYPOINTS 


THE PROPERTY OF 


Hudson S. Butcher 


OF KELLENVILLE, N. Y. 


FELIX BUHOT. 
1. LE, PUITS DE LA BUTTE AUX CAILLES. 


eard 41. 
Proof signed ‘‘ #’. B.”’ 
2. EN PROVINCE: LA MAISON D’ORLEANS A VAL- 
OGNES. BB. 65. 
Proof on thin Japan paper. 


38, FETE NATIONALE, BOULEVARD CLICHY. B. 127. 


Bour- 


Third state of four. 


4. DEBARQUEMENT EN ANGLETERRE. BB. 130. 
Early and very fine impression before the cleaning 

of the margin of the plate. 
The view is of Folkstone Pier, the landing 


* Night effect. 
place of the Boulogne boats. 


5. DEBARQUEMENT EN ANGLETERRE. BB. 130. 
Contre-épreuve on Van Gelder paper toned by the 
Proof stamped by Buhot with his red 


etcher. 
stamp. 
*This gives the preceding plate with day effect. 


) 6. LES VOISINS DE CAMPAGNE (COUNTRY NEIGH- 


BOURS). B. 148. 
Artist’s proof, with the symphonic margin. Signed 


by Buhot, and with his red stamp. 
* One of Buhot’s delightfully humorous plates. 


10. 


hil 


12. 


ios 


14. 


15. 


FELIX BUHOT—Coxtinued. 


LES PETITES CHAUMIERES. B. 149. 


Very fine impression. Proof signed by Buhot and 
with his red stamp. 


. LES GRANDES CHAUMIERES. BB. 150. 


Very fine proof, rich with burr. 
Monogram drawn in pencil and in Buhot’s hand- 
writing: ‘‘3e Htat. Hlat avec les barbes. F. B.” 


BERGERIKES: SOLEIL COUCHANT. B. 151. 

Signed with his monogram drawn in red crayon, 
and with his red stamp, and also with the fol- 
lowing in his handwriting: ‘‘ Bergeries a Quine- 
ville. (Htat?) le ciel rétouché a la pownte.”’ 

* One of Buhot’s most famous plates. Only on his very finest 

proofs did Buhot draw his monogram as here. Printed on a 
toned Van Gelder paper. 
LES OIKS.  B. 166. 


Proof stamped with Buhot’s red stamp. 


ZIGZAGS D’UN CURIEUX. B. 172. 
Second state of four, with symphonic margins. 


DAVID YOUNG CAMERON. 


DUNDEE. Wedmore 4. 
ONE OF ONLY THREE PROOFS. On 17th century 
paper. 
Signed by Cameron, and on the back in his hand- 
writing, Dundee. 1 of 3 proofs.”’ 


* Cameron’s early work is almost entirely pure etching, the 
drypoint rarely used. Nearly all the plates are printed by him- 
self in issues of from 30 to 50 copies, and in as few states as 
possible. The majority of his plates are very rare. 


GREENOCK. W. 8. 


TRIAL PROOF before the heavy work in foreground 
at left, covering the signature, which was rewrit- 
ten at right without date. 

Signed by Cameron. On toned Van Gelder paper. 


TWEEDSIDE. W. 13. 
Proof signed by Cameron, on Van Gelder paper. 


TAYSIDE. W. 14. 


Proof signed by Cameron, on Japan paper. 
Very fine impression. 


4 é x Se) 


< 


No. 19. THE Y, By D. Y. CAMERON. ; 


16. 


17. 


LS, 


Lo: 


20. 


21. 


22. 


23. 


DAVID YOUNG CAMERON —Continued, 
ZAANDAM, WINDMILLS. W. 43. 
First state. 
Proof signed by Cameron, and on the back in his 


handwriting: ‘‘ Zaandam, Windmills, only proof 
Ist state.’’ 


ZAANDAM, WINDMILIS. W. 43. 
Second state. 
Proof signed by Cameron, and on the back in his 
handwriting: ‘*‘ Zaandam Windmills. (Dutch 
pet.)”’ . 


THE ROKIN, AMSTERDAM. W. 46. 


Proof on old French paper. 
Signed by Cameron, and with the title in his hand- 
writing. 


THE Y, AMSTERDAM. Unknown to Wedmore. 
Grolier 48. 


Signed proof. Written on the back in the etcher’s 
autograph is: ‘*‘ The Y, Amsterdam. Only 
proof.’ 

*Mr. Cameron ina recent letter to Mr. Dutcher states that 


there WERE ONLY TWO PROOFS taken, the location of the other 
apparently unknown to him, 


[See Illustration. ] 


A DUTCH DAMSEL. W. 50. 
Proof signed by Cameron on 18th century paper. 
Very beautiful impression. 
* One of his scarcest plates. 


VERONICA, A MAID OF ITALY. W. 77%. 
Proof signed by Cameron. On old French paper. 
Superb impression. 


THE BRIDGE OF SIGHS AND DOGE’S PALACE, 
VENICHKS .W. 78. 


Proof on seventeenth century paper, signed by 
Cameron. 


VENICE FROM THE LIDO. W. 87%. 
Proof signed by Cameron and with the title in his 
handwriting. 
Very fine impression. 
* A rare plate. 


24. 


26. 


27. 


28. 


mo: 


30. 


dl. 


32. 


33. 


34, 


DAVID YOUNG CAMERON—Continued. 
LA COUR DES BONS-ENFANTS (ROUEN). W.110. 
Proof signed by Cameron, on China paper. 


* Magnificent impression of one of his masterpieces. VERY 
RARE. 


. HENRY THE EIGHTH’S CHAPEL. W. 126. 


Proof signed by Cameron. 


ST. PAUL S Wile. 
Undescribed state, before the burr was removed. 
Proof signed by Cameron, and in his handwriting: 

‘* St. Paul’s from the river, trial proof.’’ 


ROSLYN. ‘“W. 1380. 
Proof on old French paper, signed by Cameron. 


ST. MARK’S, No. 2. W. 182. 
Very beautiful trial proof before the shadows were 
deepened and extended. 
Signed by Cameron and with the following in his 
autograph: ‘‘T'rial proof, San Marco, Venice.’ 
On Japan paper. 


[See Illustration. ] 


CASA D’ORO, VENICE. W. 138. 


Trial proof before certain reflections in the water 
aud before the highest window at the right was 
shaded. On thin Japan paper. 

Proof signed by Cameron. VERY RARE. 


CHARTRES. W. 145. 
Proof signed by Cameron, and with the title in his 
handwriting. On thin Japan paper. 
ST. MERRI, PARIS. Grolier Catalogue No. 196. 
Proof signed by Cameron, and with the title in his 
handwriting. On Japan paper. 
BERWICK ON TWEED. Gr. 197. 
Proof signed by Cameron, on thin Japan paper. 


ROBIN HOOD’S BAY. Gr. 199. 

Proof signed by Cameron, and with the title in his 
handwriting. On old French paper. Superb 
impression. 

EVENING ON THE GARRY. Gr. 213. 


Proof signed by Cameron, and with the tltle in his 
handwriting. On thin Japan paper. 


: 


SG sapien oi a 


, BY D. Y. CAMERON. 


Sr. MarKk’s No. 2 


No. 28. 


ov 38. 


» 35. 


36. 


eye 


39. 


40. 


41. 


42, 


43. 
44, 


45. 


DAVID YOUNG CAMERON—Coxtinued. 
MAR’S WORK, STIRLING. Gr. 214. 
‘Proof on thin Japan paper, signed by Cameron. 


THE FIVE SISTERS, YORK MINSTER. Gr. 218. 
Proof on thin Japan paper, signed by Cameron. 
A superb impression. 
ONE OF CAMERON’S MASTERPIECES AND EXTREMELY 
RARE. 
AFTERGLOW ON THE FINDHORN. Gr. 216. 
Proof on thin Japan paper, signed by Cameron. 
Very fine impression. 
MY LADY OF LUXOR. : 
Proof on thin Japan paper, signed by Cameron. 


SKETCH ON THE TAY. Proof on old French paper, 
signed by Cameron. 


OLD WHITBY BRIDGE. 


Proof on 18th century paper, signed by Cameron. 
A very beautiful impression. 


TIMOTHY COLE. 


PORTRAIT OF TIMOTHY COLE. After Wyatt 
Haton. 
Wood engraving by himself. Proof from the 
original block on China paper, signed Be the 
engraver. 


BURIAL OF THE VIRGIN. After Duecio of Siena. 


Wood engraving. Proof from the original block, 
on China paper, signed by the engraver, and 
with autograph inscription, ‘‘ To my ‘dear fr vend 
Wyatt Eaton with compliments of T. Cole.’ 


ST. AGNES. After Del Sarto. 
Wood engraving. Proof from the original block, 
on China paper, signed by the engraver. 
THE THREE AGES OF MAN. After Lorenzo Lotto. 
Wood engraving. Proof from the original block, 
on China paper, signed by the engraver. 
THE CONCERT. After Giorgione. 


Wood engraving. Proof on China paper, from the 
original block, signed by the engraver. 


46. 


47. 


48. 


49. 


50. 


dl. 


52. 


ALBRECHT DURER. 


ALBERT OF MAINZ (KNOWN ALSO AS THE LITTLE 
CARDINAL). B 102. 


Copper engraving. Early and good impression 
showing clearly the windows reflected in the 
eyes, but trimmed close and slightly skinned on 
the back in one place. From the William Sharp 
and another collection. 


JOACHIM AND ANNA EMBRACING AT THE 
GOLDEN GATE. B. 79. 


Wood engraving from the Life of the Virgin. 

Very early impression on paper, with the water- 
mark Hausmann 28. (Diirer’s First Period.) 
Latin text on the back. 


MARIANO FORTUNY. 


IDYLLE. Beraldi 4. 


Proof before letters on China paper. 
A very beautiful impression. 


GARDE DE LA KASBAH A TETUAN. B. 5. 


Proof before letters on China paper. » 
Beautiful impression. 


SIR FRANCIS SEYMOUR HADEN. 


MY TTON2 HARA {DS le: 

TRIAL PROOF ‘‘A.’’ SUPERB IMPRESSION on Dutch 
paper. 

PRESENTATION PROOF SIGNED BY SIR F. SEYMOUR 
HADEN, and with the following inscription in his 
autograph: ‘‘Mytton Hall, Lancashire. Seymour — 
Haden a Mons. Fantin.”’ 

[See Illustration. ] 


FULHAM. D. 18. 


TRIAL PROOF (b). Very beautiful impression on 
thick Dutch paper. 


ON THE THES, 3 Drag 
FIRST STATE. Proof on China paper. 


* This plate ranks with the Shere Mill Pond, A Water 
Meadow, and A Sunset in Ireland, as Haden’s most beautiful 
poetic etchings. 


No. 


50. 


MyTron Hatt, By Sir F. 8. HADEN, 


— 


53. 


54. 


5d. 


56. 


57, 


58. 


59. 


60. 


SIR FRANCIS SEYMOUR HADEN —Continued. 


EARLY MORNING, RICHMOND. D. 21. 


Second state, with the inscription: ‘‘ The lark at 
heaven’s gate sings.’? On Dutch paper. Very 
beautiful impression. 

* Plate destroyed. 


KIDWELLY TOWN.  D. 22. 


First state. On Dutch paper. Very beautiful im- 
pression. 

Proof signed by Haden, and from HIS OWN COLLEC- 
TION with his stamp on the back. 

* Plate destroyed. 


AMSTELODAMUM. D. 37. 


Proof signed ‘‘S. H.’’, from the Haden collection, 
with stamp, and in the etcher’s handwriting: 
“D. 37, printed in teat—very early—undescribed.” 

* Plate destroyed. 


ERITH MARSHES.  D. 102. 


First state before the clearing of the left half of 
the sky. Very fine impression. 

Proof signed by Haden. 

* Plate destroyed. 


THE MOAT HOUSE. D. 103. 


First state. 

Proof signed by Haden, FROM HIS COLLECTION WITH 
STAMP, and in his handwriting: ‘‘ 23rd July, 
TET OC. . 


BREAKING UP OF THE AGAMEMNON. D. 128. 
Second state. 


Proof signed by Haden, and FROM HIS COLLECTION 
with stamp. 


Torok PS) Da Lor. 


First state. 
Proof signed by Haden, FROM HIS COLLECTION with 
stainp and in his handwriting: ‘‘D. 151. Ist state.” 


WAREHAM BRIDGE. D. 159. 


Fine early impression before the horses were com- 
pletely shaded, and before the hills in the back- 
ground and the grasses in the right foreground 
were removed. 

‘Proof signed by Haden. 


61. 


62. 


63. 


64, 


65. 


66. 


One 


CHARLES MERYON. 


LE STRYGE. (THE DEVIL OF NOTRE DAME.) 
Wedmore, 7. Delteil, 23. 


Very fine impression before the title with the in- 
itials on the chimney and the first address of 
Delatre, Rue de la Bucheri, 6 (the second address 
is Rue 8. Jacques, 265). 


LE PONT AU CHANGE. W. 18. D. 34. 


VERY BEAUTIFUL PROOF on old paper with only 
one balloon in the sky, before the hearse on the 
bridge was altered to a covered carriage, and 
with the name and date of Meryon. 

VERY RARE IN THIS STATE. 


LA MORGUE. W. 20. D. 36. 


Very rich proof on old paper, with the scratched 
name, address and date of Meryon, bnt before 
the inscription on the houses or the monogram.~ 


JOSEPH PENNELL. 


VILLIERS STREET, STRAND. 


Signed proof. Very fine early impression, with 
‘* Goulding imp.,’’ written in Pennell’s hand. 


LANDING STAIRS, LEGHORN. 
Signed proof. . 


AMIENS. 
Signed proof. 


PAUL RAJON. 


SUZANNA ROSE. After Sandys. Beraldi 148. 
VERY BEAUTIFUL TRIAL PROOF before the removal 
of the needle marks on the bottom margin. On 
thin Whatman paper. 


*One of the masterpieces of etching of the nineteenth 
century. Beraldi writes of it: ‘‘One of the marvels of the 
century. It is the type of the aged woman of our century; 
as the Mdme. Letine of Aug. Saint-Aubin is the type of the 
aged woman of the eighteenth century.” Extremely rare. 


[See Illustration. ] 


No. 67. SUZANNA ROSE, BY PAUL RAJON. 


By EpwIin A. ABBEY. 


THE SKELETON IN ARMOR, 


ey as 


(0) 


N 


REMBRANDT. 


iv, 68. CLEMENT DE JONGHE. Bartsch 272. 

tf 2 Sixth state. On India paper. 

| 69. JAN LUTMA. Bartsch 276. 

j e Very fine impression on India paper of the finished 


y plate with the signature of Rembrandt. Rare. 


HERMAN A. WEBSTER. 


"0. NOTRE DAME ET LE QUAI AUX FLEURS, PARIS. 


Signed proof on eighteenth century paper. 
ETCHINGS AND DRY POINTS. 


ORIGINAL DRAWINGS. 


EDWIN A. ABBEY. 
1, THE SKELETON IN ARMOR. 


) ‘* T wooed the blue-eyed maid, 
Yielding, yet half afraid.” 


Crayon drawing touched with Chinese white on 
toned paper. Signed E. A. Abbey. 14 x 11 in. 


Framed. 
[See Illustration. ] 


on "2. THE CONSTANT MAIDS OF OCKLEY. 
- cae Gouache drawing. Signed E. A. Abbey. 14x 114 in. 
en Framed. 


“4. THE EVILEYE. (New England.) 
Study in body color. Signed Edwin A. Abbey, 
1877. 21x 388in. Framed. 


[See Frontispiece. | 


os 


"4. BANISHED FROM MASSACHUSETTS. 
Painting in body-color over pen-and-ink. Very 
finely and carefully finished. Signed E. A. 

Abbey. 20x 26$in. Gilt frame. 
*The subject of the drawing is the banishment of the 


Quakers from Massachusetts in 1660. Whittier wrote a poem 
on the subject of the drawing in 1884. 


f 
ur 
ah 


MAXFIELD PARRISH. 


75. LITTLE BOY BLUE. 


Pen-and-ink drawing, exquisitely finished. Signed 
M.3P. (12 x10%0.>- Pramed: 


ETCHINGS AND DRY POINTS. 


JAMES ABBOTT McNEILL WHISTLER. 


76. LITTLE ARTHUR. Grolier 9. Mansfield 7%. Wed- 
more 13. 


Fifth state. Early impression on yellow China 
paper. One of the ‘‘ French set.”’ 


* A portrait of Whistler’s nephew, the son of Sir Francis 
Seymour Hayden. The French set, comprising twelve plates 
and a title-page, was issued in Paris, November, 1858, under 
the description of ‘‘Douze Eaux Fortes d’aprés Nature.” 
Only a very few were issued and the earliest impressions are 
usually on yellow China paper. The complete set is in this 
collection (including a duplicate of ‘‘ The Kitchen ”). 


77. ANNIE. (Grete vies ae WV Pale 


Fourth of five states. Very fine early impression 
on yellow China paper. One of the ‘‘ French 
set.” | 


* A portrait of the daughter of Sir F. Seymour Haden. 
From the Macgeorge and ‘‘J. C.” (Cox?) collections, with 
stamp. 


78. ANNIE. (Gr LOS Mis) W215. 
Fourth of five states. Early impression on yellow 
China paper. 
79. LA MERE GERARD. Gr. 11. M. 13. W. 9. 


Fourth state. Early impression on yellow China 
paper. One of the ‘‘ French set.”’ 

An old woman who sold violets at the gate of the 
Luxembourg. 


30. FUMETTE. + Grails sls. aves 


Fourth state. Early impression on yellow China 
paper. One of the ‘‘ French Set.” 


$1. LA RETAMEUSE. Gr.14.. Mii) >We 


Second: state. Karly impression on yellow China 
paper. One of the ‘‘ French Set.”’ 


oR, 


84. 


85. 


87. 


38. 


39. 


90. 


W HISTLER—Coxtinued. 


EN PLEIN SOLEIL. Gr. 15. M.12. W. 6. 


Second state. Early impression on yellow China 
paper. One of the ‘‘ French Set.”’ 


3, EN PLEIN SOLEIL. Gr. 15. M.12. W.6. 


Second state. On white China paper. A very fine 
early impression. With stamps of the Mac- 
george and ‘‘ J. C.”’ (Cox?) collections. 


Pye wtUN. —Gr-16.) S016. WwW. 4. 


Second state. Early impression on yellow China 
paper. One of the ‘‘ French Set.” 


THE UNSAFE TENEMENT. Gr. 17. M. 17. W. 7. 


Third of four states. Early impression on yellow 
China paper. 

* A very fine impression. In some of the issues of the set 
this plate is called ‘‘The Old Farm,”’ but Whistler himself 
wrote the better-known title on a copy in the Avery collection. 
One of the ‘‘ French Set.” 


meet AT SAVERNE. Gr.19. M. 19. .W. J1. 


Fourth of five states. Fine and early impression 
on China paper. One of the ‘‘ French Set.”’ 


PA vVibLLLE AUX LOQUES. Gr. 21. M. 21..W. 14. 
Second state. Very fine early impression before 

the removal of Delatre’s name and address. On 
yellow China paper. One of the ‘‘ French Set.”’ 


LA MARCHANDE DE MOUTARDE. Gr. 22. M. 22. 
iW. 16. , 

Third of five states. Very beautiful early impres- 

sion on yellow China paper. One of the. 

‘* French Set.’’ 


THE RAG GATHERERS (QUARTIER MOUFFE- 
TARD). Gr. 23.° M. 23. W. 17. 


Fifth state with the date 1858, on China paper. 


THE KITCHEN. Gr. 24. Second state. M. 24. W. 
19 (first state). Brilliant impression in brown ink 
on white China paper. 
* Proof signed by Whistler with his pencilled | One of 
the ‘French Set.” ige 


W HISTLER—Coxntinued, 


91. THE KITCHEN. Gr. 24. Second state. M. 24. W. 
19 (first state). Very beautiful early impression on 
yellow China paper. 


92. TITLE-PAGE TO THE FRENCH SET (DELANNOY 
SKETCHING). Gr. 25. M. 25. W. 20. 


Only state. Fine impression on yellow China 
paper. 


* Delannoy was Whistler’s companion in some of his earlier 
wanderings through Europe, and he is shown in the plate with 
the broad-brim hat that is associated with the earlier portraits. 
of Whistler himself. 

This plate completes the ‘‘ French Set.” 


93. BIBI VALENTIN. Gr. 50. W. 28. M. 50. 


Second state. On thin Japan paper. 


* Proof printed by Whistler and signed with his pencilled 
6f, imp. With stamp of the Macgeorge collection. 
\ 


e 


94, SEYMOUR, SEATED. Gr. 29. M.6. W. 22. 

Undeseribed state between the first and second. 
The two vertical lines at the left extend to 
within an inch of the top of the plate and are 
crossed by a third line. In the second state 
they are burnished down to two inches from the 
top. 

A beautiful impression on China paper showing 
the extremely delicate dry-point lines in the up- 
per right and left corners and on the left knee. 
A portrait of Seymour Haden, junr. 


95. ANNIE, SEATED. Gr. 30. M. 29. W. 24. 


Second state, on China paper. 
* The daughter of Sir Francis Seymour Haden, also shown 
standing in Nos. 77 and 78. 


96. THE MUSIC ROOM. Gr. 33. M. 31. W. 26. 

First State. Animpression of the highest quality 
on old soft eighteenth century paper. Proof 
signed by Whistler with the pencilled ef, 

iS 


* An interior of aroom by lamp-light showing Sir Francis 
Seymour Haden seated reading a newspaper, Lady Haden, and 
Mr. Traer, the assistant of Sir F. S. Haden. 


‘AMTLSIHAA Ad ‘YHNOISNG( HOIMNEGYO HHT, “16 ‘ON 


W HISTLER—Continued, 
97. GREENWICH PENSIONER. Gr. 34. M. 33. W. 382. 
UNDESCRIBED TRIAL PROOF. Before the delicate 
horizontal dry-point lines across the top of the 
plate and the heavy work on the right arm near 
the shoulder; also, before the removal of various 
lines at the left of the figure, especially the 
double outline of the right arm. There were 
other changes throughout the plate, which seems 
to have been freely burnished down later. 


Proof signed by Whistler with his pencilled he 
and also with the title ‘‘ Greenwich Pen- A 
sioner’’ written by him. The double signature 
(in pencil) on this print is a very unusual 
feature. 


[See Illustration. | 


98. NURSEMAID AND CHILD. Gr. 37%. M. 36. W. 34. 


The figure of the woman has the nose ‘‘ rétroussé.”” 
According to Mr. Frederick Keppel this is the 
‘‘ rare first state,” according to other authorities 
the ‘‘second.’’ A very fine impression on Dutch 


paper. 


99. THAMES WAREHOUSES. Gr. 38. M. 37. W. 35. 


Second state. Very fine impression showing the 
outline of the man standing beyond the second 
barge in the foreground. The heavy dry-point 
lines rich with burr. On China paper. One of 
the ‘‘ Thames Set.’? View from the Thames 
Tunnel Pier. 

* The plates for the ‘‘Thames Set” were executed at inter- 
vals several years before they were collected and issued as a 
series in 1871. The earliest impressions and states were printed 
by Whistler himself and are exceedingly rare, although only a 
very limited number were printed of the later states. All 


were views on the Thames with one exception, the etching of 
Becquet, ‘‘ The Fiddler.” 


100. EAGLE WHARF. (TYZAC, WHITELEY & CO.) 
Gr. 41. M. 40. W. 329. 
Only state. Very fine impression on old paper. 
One of the ‘‘ Thames Set.” 


101. 


102. 


103. 


104. 


105. 


106. 


107. 


W HISTLER—Consinued, 
BLACK-LION WHARF. Gr. 42. M. 41. W. 40. 


Third state. Very finely printed impression on 
Dutch paper. 

* One of Whistler’s most famous plates, etched in 1859, 

and quoted many times as an example of his finished and pic- 

turesque work. The third or finished state of this plate is 


much more effective than the earlier states. One of the 
“Thames Set.”’ 


THE LIMEBURNER. Gr. 46. M. 45. W. 44. 

First state with only horizontal lines on the wall 
at the right between the standing figure and the 
longer ladders, and before the burnishing out of 
the slipped stroke extending from near the top 
of the ladders nearly across the wall. On China 
paper. | 

In a later state one of the ‘‘ Thames Set.’”’ 


THE LIMEBURNER. Gr. 46. M. 45. W. 44. 


Second state. With delicate vertical lines added 
on the wall, and the slipped stroke burnished 
out. On thin Japan paper. 


In this state one of. the ‘*‘ Thames Set.’”’ 


BECQUET (THE FIDDLER). Gr. 52. M.52. W. 48. 


Fourth state. Fine impression on thin J oh paper. 
One of the ‘‘ Thames Set.”’ 


Said to be ona plate first etched by a West Point classmate. 
Muskets not burnished out may be seen in the lower right 
corner. 


DROUET. Gr. 55. M. 55. W. 53. 


Later but fine impression of the finished plate on 
thin Japan paper. 


WAPPING (OR ROTHERHITHE). Gr. 66. M. 66. 
W. 60. 


Third state. Fine impression on Dutch paper. 
One of the ‘‘ Thames Set.”’ 


THE PENNY BOAT. Gr. 67. MoGizy 


First state. A touched proof, the shading (seen 
in the second state) drawn with a pencil. Printed 
on 1%th century paper. 


* From the Theobald Collection, but not stamped. 


on 


a Tag 
c 


108. 


109. 


110. 


111. 


112. 


113. 


114. 


415. 


W HISTLER—Coxntinued. 


foe FORGE. Gr. 68. M. 68. . W. 63. 
Fourth state, with the small blank space to the 
right of the smith’s head. 


* A dry-point executed in Brittany in 1861, and said to have 
been printed by Whistler himself. One of the ‘‘ Thames set.” 


VAUXHALL BRIDGE. - Gr. 70. M. 70. . W. 66. 
Second state. On thin Japan paper. Very fine 
impression. 
* Proof printed and signed -by Whistler, with his pencilled 


ef, amp. 
X 


e 


MLB BANK. Gr. “71. “Mire. W...67. 
Fifth state. An early impression before the deli- 
eate lines in the sky were worn away. 


One of the ‘‘Thames Set’’: Looking down the 
River from Millbank. 


Pen LE WAPPING.» ©Gr. 75..~ M. 72... W.-71. 
Second state. Very fine impression on thin Japan 
paper. 
* Proof printed and signed by Whistler with his pencilled 


aN 
\e 
Viet Probe POOL... Gr. 74. M. 73. W. 72. 
Eighth state. With the etched signature ‘‘ Whis- 
tler, 1861.’’ One of the ‘‘ Thames set.’? Whis- 
tler himself and Sergeant Thomas are the figures. 


EARLY MORNING, BATTERSEA (CADOGAN PIER). 
Gro NL. 10.2 OW 19. 
Only state. Fine impression of this delicate dry- 
point, on China paper. 
One of the ‘‘ Thames Set.”’ 
OLD HUNGERFORD BRIDGE. Gr. 76. M. 76. 
W. 80. j 
Third state. Very fine impression on thin Japan 
paper. 
One of the ‘‘ Thames Set.”’ 
Min PUNT. » Gre 8d. ODE 86s. W. 68: 


Third of four states, before ‘‘ Pl. 7’’ in the right 
upper corner. 
Proof on India paper. 


\ ‘% 
a 


W HISTLER—Continued. 


116. SKETCHING. (THE THAMES.) Gr. 86. M. 87. 
EASE 
Undescribed state, between the first and second. 
Before the plate was burnished at the top and 
bottom, removing certain lines from the sky and 
part of the grasses at bottom, as well as a part. 
of the leg of the artist’s stool. 
India proof. 


117. THE MODEL RESTING. © Gr.; 100.5) Wit 
Fourth of six states. 
* Proof printed by Whistler and signed with his pencilled 


imp. 
Ss 


From the Macgeorge and ‘‘ J. C.” (Cox?) collections. 


118. CHELSEA WHARF. Gr. 89. M. 89. W. 81. 
Second state. Fine impression of a very delicate 
etching, printed by Whistler himself. From the 
Theobald collection, but not stamped. 
Proof signed by Whistler with his name ‘‘ Whistler” 
and the title of the plate in his autograph. — 
* The earliest plate to bear the etched butterfly. In this 


the butterfly is in ‘‘ its earliest form—an outline. Bourcard de- 
scribes this plate as adorable.” 


119. FANNY LEYLAND. Gr. 108. M. 107. W. 94. 
Fourth of six states. A superb impression. 
* Proof printed and signed by Whistler, with his pencilled 


imp. 
“Ks 


\ 
\® 


[See Illustration. ] 


120, ELINOR LEYLAND. © Gr. 109. M. 10833 Wee: 
Fourth state of seven. Very rich impression on 
Dutch paper from the Macgeorge Collection, 
with stamp. 
* Proof printed and signed by Whistler, with his pencilled 
imp. and also with ‘t Babs,” apparently in his hand- 
he writing, at the bottom. 


e 


121. FLORENCE LEYLAND. Gr. 110. M. 109. W. 96. 


Sixth state of nine. A rare plate on old 18th cen- 
tury paper. 


No. 119. FaNNy LEYLAND, BY WHISTLER. 


Sie GeL. ay a 


Se 


W HISTLER—Coxtinued. 


122. TATTING. Gr. 112. M.111. W. 98. 
Only state. Early impression on thin Japan paper. 


Z A portrait of one of the Misses Leyland. 


123. THE DAM WOOD. Gr. 145. M. 143. W. 120. 


First of three states. 
* Proof printed and signed by Whsitler, with his pencilled 


* of imp. 
‘he @ 


\e 
A wood near Speke Hall, the seat of Sir F. Leyland. 


124. PRICE’S CANDLE FACTORY. (PRICE’S CANDLE 
WORKS.) Gr. 154. M. 151. W. 124. 

UNDESCRIBED FIRST STATE, differing from that de- 
rv eribed in the Grolier Club Catalogue in having 
. the stern of the barge at left defined by a line, 
and in certain lines in the sky, notably a delicate 
series at the left and a slipped stroke over the 
bridge. On 18th century paper. OF THE 

GREATEST RARITY. 
* Proof printed and signed by Whistler, with his pencilled 


ef, imp. 


125. PRICE’S CANDLE-FACTORY. (PRICE’S CANDLE 


WORKS.) Gr. 154. M. 151. W. 124. 
rp UNDESCRIBED STATE, probably between the third 


} 0=— state and the fourth, with the sail of the farther 


barge completely shaded and the sail and barge 
strongly reflected in the water. In the fourth 
state the reflections are much reduced by bur- 
nishing. OF THE GREATEST RARITY. 

* Proof printed and signed by Whistler, with his pencilled 


ef, imp. 
\ 


® 
This beautiful impression is from the Hutchinson collection 
and has the blind stamp in the lower left corner. On the 
back in Whistler’s autograph is ‘‘Price’s Candle Factory. 
W. 124.” 
[See Illustration. ] 


126. BATTERSEA, DAWN. Gr. 155. M. 1582. W. 120. 


oe FIRST STATE. BEAUTIFUL IMPRESSION on 18th 


century paper. 


14 0 


128. 


. 129. 


130. 


i31, 


132. 


133. 


W HISTLER— Continued. 


TEMPLE BAR. Gr. 162. M. 159. W. 133. 


THREE IMPRESSIONS (excepting two trial proofs) 
ARE ALL THAT ARE KNOWN TO EXIST of this rare 
plate. Mansfield mentions the three as being in 
the Dutcher (this copy), the Freer and his own 
collection. Printed on a leaf of 17th Century 


paper. 


FREE-TRADE WHARF. Gr. 163. M.160. W. 134. 


Third state of five (first with the butterfly). Very 
fine early impression on thin Japan paper. 


A SKETCH FROM BILLINGSGATE. Gr. 168. M. 
164. W. 130. 


Sixth state. On 17th century paper. 


LITTLE.PUTNEY. Gr. 1797 Sl 1769 ee 
From the limited edition of Wedmore’s ‘‘ Four 
Masters of Etching.”? On Japan paper. 


THE LITTLE LAGOON. Gr. 186. M.183. W. 182. 


Second state. SUPERB IMPRESSION on 18th century 
paper. One of the ‘‘ Venice Set.’’ 


* The first Venice Set, consisting of twelve plates, were issued 
in 1880. Only a very limited number of each were issued, and 
most of the plates were printed by Whistler personally. Ten 
of the twelve will be found in this and the following numbers. 


THE PALACES. Gr. 187. M. 184. W. 153. 


A beautiful early impression before the removal 
of the butterfly. On 18th century paper. Proof 
printed and signed by Whistler with his pen- 


cilled ¢ mp. 


One of the ‘‘ Venice Set.’’ 


THEZ DOORWAY. Gr. 188. M. 185. W. 154. 
SECOND STATE of seven. Very beautiful impres- 
sion on soft 17th century paper, printed in brown. 
Proof printed and signed by Whistler, with his 


pencilled ef, ump. 
N 


* Evidently a trial proof printed by Whistler, before its 
issue as one of the set, as the margins are not cut close to the 


ARE nos, 


3 


Beth dng 2 


No. 133. THE Doorway, BY WHISTLER. 


W HISTLER—Coxtinued. 


plate-mark, but are left broad. Ina later state one of the 
‘* Venice Set.” 

The French critics were the first to appreciate the work of 
Whistler, and it was one of them who characterized this plate 
as the most brilliant of the Master’s jewels. It was while 
looking at this Venice sec that Sir F. Seymour Haden was 
asked what he would do if forced to choose between his Rem- 
brandts and his Whistlers, his reply was that the Rembrandts 
would go first. 


[See Illustration. ] 


eo) THE PIAZZETA. Gr. 189. M. 186. " W. 155. 


Very fine impression of the completed plate on 
18th century paper. Proof printed and signed 
by Whistler, with his pencilled of, imp. 

\ 


One of the ‘‘ Venice Set.’’ 


135. TRAGHETTO. No.2. Gr. 191. M. 188. W. 156. 


Third state of six (or seven). Very beautiful im- 
pression on Japan paper. 
One of the ‘‘ Venice Set.”’ 


* The impressions on Japan paper are usually early trial 
proofs, the later issues being on old Dutch paper. 


136. THE RIVA. No.1. Gr. 192. M. 189. W. 15%. 


Third state. Very fine early impression on Japan 
paper showing the lines in thesky. Proof printed 
and signed by Whistler, with his pencilled 


hae mp. 
<s 


*?Possibly an early trial proof, having broad margins and be- 
ing on Japan paper. One of the *‘ Venice Set.” 


137. THE TWO DOORWAYS. Gr. 193. M. 190. W. 158. 


Third state of seven. Superb early impression on 
Japan paper, with margins. No doubt a trial 
proof. 

Printed and sign by Whistler, with his pencilled 


yy ump. 


* ONE OF THE RAREST OF WHISTLER'S ETCHINGS to obtain 
in a good impression. From the ‘ Venice Set.” 


W HISTLER—Coxtinued. 
138. THE BEGGARS. Gr. 194. M.191. W. 159. 


Sixth of nine states. Superb impression in brown 
ink on 18th century paper. Proof printed and 
signed by Whistler with his pencilled of 

\ 


* A French critic has characterized this as one of the most 
perfect etchings existing in the world. Joseph Pennell writes 
that ‘‘ there are no such perfect plates in the world as ‘ The Beg- 
gars,’ ‘ The Traghetto,’ ‘ Riva, No. 1 and 2,’ and * The ea a 
One of the ‘‘ Venice Set.” 


139. THE MAST. Gr 195) M. 1925) Wade: 


Fifth of six states. Superb impression on Japan 
paper, with margins, no doubt a trial proof. 
Printed and signed by Whistler, with his pen- 


cilled oF, am 
N 


* One of the ‘‘ Venice Set.” 


140. DOORWAY AND VINE. Gr. 196. M. 193. W. 161. 


Seventh of nine states. Very fine impression on 
18th century paper. Proof printed and: signed 
by Whistler, with his pencilled ey amp. 


*In its inter state one of the copa ee Etchings” 
issued in 1886, of which only 30 were printed. 


141. SAN BIAGIO. Gr. 197. W.163. M. 194. 
Third state of one of Whistler’s most important 
plates. With ecollector’s stamp ‘‘J. C.”’ (J. C. 
Cox ?) 
In Whistler’s handwriting on the back ‘‘ 3rd. 
state.’ 
* In alater state one of the sina ee Etchings.” 


142. LONG LAGOON. Gr. 203. M. 200. W. 169. 


First state, before the butterfly. Very fine im- 
pression on 18th century paper. Proof printed 
and signed by Whistler, with his pencilled 


. ef, ump. 


* In a later state one of the ‘‘ Twenty-six Etchings.” 


W HISTLER—Continued. 
143. UPRIGHT VENICE. Gr. 205. M. 202. W. 172. 

Second state of four, before the shading on the 
back of the man in the front group, and before 
the lengthening of the reflection of the canopy 
of the gondola. On 15th century paper. Proof 
printed and signed by Whistler, with his pen- 
cilled imp.; also the title with his auto- 
graph, M3 on the back. 


* In a later state one of the ‘‘ Twenty-six Etchings.” An un- 
usually fine impression. 


i THE BALCONY. Gr. 207. M. 204. W. 177%. 
Fifth of eleven states. Superb impression on 18th 
century paper. Proof printed and signed by 
Whistler, with his pencilled ef, amp. 


* One of the masterpieces of the series. In a much later 
state. Oneof the ‘‘ Twenty-six Etchings.” 


145. THE FISHING BOAT. Gr. 208. M. 205. Wesel 1.3 
Fourth state of five. Very fine impression on thin 
18th century paper. Proof printed and signed 

by Whistler, with his pencilled ef, amp. 


One of the ‘‘ Twenty-six Etchings.” < 


146. LA SALUTE, DAWN. Gr. 215. M. 212. W. 185. 


Fourth state. Very fine impression on thin 18th 
century paper. Proof printed and signed by 
Whistler, with his pencilled ie imp. The 
plate drawn from his window. \3 


One of the ‘‘ Twenty-six Etchings.” 


147. SWAN AND IRIS. Gr. 241. M. 288. Not in Wed- 
more’s catalogue. 
Second state. Very early impression before the 
fine lines in the sky were worn. 


148. THE LITTLE HAT. Gr. 335. M. 331. Not in Wed- 
more’s catalogue. 
Only state. Proof printed and signed by Whistler, 
with his pencilled ump. 
Dp ia | Pp 


149. 


150. 


151. 


x 


W HISTLER—Continued, 


THE LITTLE NUDE MODEL READING. Way, 29. 


Lithograph on eighteenth century paper. 
Very fine impression and rare. 


WEDMORE’S CATALOGUE. 


Whistler's Etchings: a Study and a Catalogue. 
By Frederick Wedmore. Second edition, re- 
vised and enlarged. Crown 8vo, cloth, uncut. 
London: Colnaghi, 1899. 


* Only 135 copies issued, this being No. 64. 


THE DEFACED PLATES. 


A volume containing fifty-seven impressions from 
the defaced plates, in the original boards and 
cloth back covers as issued. In perfect con- 
dition, some of the impressions being from the 
plates after the lines of defacement had been 
burnished down. MANY VERY RARE PLATES 
ARE INCLUDED. 4to. 


* The impression of the plate ‘‘ Whistler with the White 
Lock” bear no marks of cancellation. 


ANDERS ZORN. 


182. THE WALTZ. D. 54. 


Third or finished state. On heavy Van Gelder 
paper. Proof signed by Zorn. 


Forty proofs alone taken and plate destroyed. 


_ * This and ‘‘ An Interior of an Omnibus” are two of Zorn’s 
most characteristic and most praised plates. Both were ex- 
hibited at the ‘‘ Exposition des Peintres-Gravures francais ” 
in 1898, where they created much attention, the etcher then 
being scarcely known, 

A French critic in writing of Zorn stated ‘‘his method is 
extremely curious and individual, without apparent method, 
confused at a close examination, but seen at a proper dis- 
tance from the eye, becomes clear and precise in a manner 
that is astonishing, and if dwelt on for a short time a thou- 
sand details show themseives that on a superficial examina- 
tion are not apparent, ALL OF HIS PLATES ARE VERY RARE, 


AAlet a 
ae 4 

> ait | an % “ 7 

= ls, i bie ible er pat Come Py a | 

ae =f ay fh an 

aa ae eh 

"a & 


Se alter, dae 


No. 154. INTERIOR OF AN OMNIBUS, BY ANDERS ZORN. 


ANDERS ZORN—Coxtinued. 
153. THE CIGARETTE GIRL (LA DAME A LA CIGAR- 
ETTE). First plate. OD. 61. 
First and onlystate. ONE OF ONLY THREE PROOFS 
TAKEN BEFORE THE DESTRUCTION OF THE PLATE. 
On heavy Van Gelder paper. 
Signed by Zorn and with his pencilled note— 
‘7 plate. 3 proofs. 


* Delteil mentions the three copies as belonging to Mr. 
Dutcher, C. Deering and C. Bermond. 


154. INTERIOR OF AN OMNIBUS. D. 71. 


First state. THE ONLY KNOWN Copy, described 
in Delteil’s catalogue as belonging to Mr. 
Dutcher. On heavy Van Gelder paper. 


Signed by Zorn and with his autograph note 
‘Ter. état. Unique.’’ 


[See Illustration. | 


155. INTERIOR OF AN OMNIBUS. D. 71. 
Third state. On heavy Van Gelder paper. 
Proof signed by Zorn. 


*The plate was destroyed after 75 impressions had been 
taken. 


156. AN OLD BALLAD (VIEILLE BALLADE). Second 
plate. D. 126. 
First and only state. On heavy Van Gelder paper. 
Proof signed by Zorn. 
* Thirty proofs taken and plate destroyed. 


157. THE SWEDISH MADONNA (LA MERE, or, LA 
MADONE). D. 1b5v. 


Second state of three. On Japan paper. 
Proof signed by Zorn. 


158. AT THE PIANO (AU PIANO). D. 159. 
Second state... On Dutch paper. 
Proof signed by Zorn. 
Sixty or seventy proofs taken and plate destroyed. 
* A portrait of Miss Anna Burnett. 


159. ANEW BALLAD (NOUVELLE CHANSON). D. 169. 


First and only state. On Van Gelder paper. 
Proof signed by Zorn. 


ANDERS ZORN—Continued. 
160. MLLE. EMMA RASSMUSSEN. D. 182. 
First and only state. On heavy Van Gelder paper. 
Proof signed by Zorn. 


161: MRS, -KIP? D:183: 
First and only state. On heavy Van Gelder paper. 
Proof signed by Zorn. 
Only 35 proofs taken and plate destroyed. 
* This copy is mentioned by Delteil. 


[See Illustration. ] 


162. THE BRIDESMAID (DEMOISELLE D’HONNEUR). 
Deo 
First and only state. On Dutch paper. 
Proof signed by Zorn. 


Mrs. Kip, By ANDERS ZORN. 


No. 161. 


- 


| 


ATS 


Fink + 
. ; 


@ Sales of Important Literary and Art Collections only 
The Anderson Auction Company 
12 East 46th Street, New York. 


ny The Season of 1910-11 opened on October 10. Since that time Fifty-four 
Sales’ Sessions have been held of Libraries and Collections of Prints, Stamps, 
__ Porcelains and Objects of Art. The season promises to be one of unequalled 
interest to buyers and collectors, during which the great Private Library of the late 
Robert Hoe is to be sold (see announcement below). 


Among other Collections in Preparation are 


_ Books, Letters and Manuscripts of S. L. Clemens (Mark Twain). 

Part II of the Americana of Wilberforce Eames, of the Lenox Library. 

An Important Collection of Autographs, including Burns, Hawthorne, etc. 

_A Private Collection of Books on Angling. 

Antique Furniture of Paul Warren, Richfield Springs, N. Y. 

Paintings and Studio Property of the late Francis Lathrop. 

cm The Important Whistler Collection of J. S. Dutcher, of Ellenville, N. Y. 
Library, MSS. and Prints of the late Judge Jacob Klein, of St, Louis, Mo. 

Several Important Collections of Paintings and Prints (details later). 


- THE ROBERT HOE LIBRARY-—It is with peculiar interest that we 
ee" announce the sale of this great library, the largest and most important 
in the Annals of Book Auctions. The first sale will be held in the 
new Galleries of the Company in February. Full announcement of the 
sale will be made later. ne 


E ART COLLECTIONS—In February we shall remove to the magnificent 
new fireproof building recently acquired by us at Madison Avenue and 
40th Street. Special attention will be given to the sale of meritorious 
Art Collections for the exhibition and sale of which our new Galleries 
will afford the highest facilities. Expert information on request. 


Executors and Administrators of Estates having Libraries or Art Collections 
to sell, Librarians, Publishers and Booksellers are invited to correspond with 
us. Catalogues mailed on request. 

SaaS 


From the New York Times, September 18, 1910 : 


BUSINESS IN MADISON AVENUE 


‘THE business transformation of Madison Avenue just north of the restricted Murray 
Hill zone at Thirty-eighth Street has made great strides this year, and it seems 

tolerably safe to predict that within a short time the four blocks from the north side of 

Thirty-eighth Street to Fortv-second Street will be devoted to commercial uses. 

The leasing of the magnificent home belonging to Mrs. Clarence M. Hyde at the 
northwest corner of the avenue and Fortieth Street to THE ANDERSON AUCTION COM- 
PANY for a term of twenty-one years at an aggregate rental of $500,000 is perhaps the 
greatest blow to the private-house stability of this section of Madison Avenue that has 
thus far occurred. ‘To be sure, the changes about to be made in the Hyde House are 
of a high-class character, not such as in themselves would mar the residential excellence 
of the avenue. It is, however, an invasion of business, and several other houses in the 
vicinity are being altered for commercial uses and apartments. 


The officers of THE ANDERSON AUCTION COMPANY, in selecting this corner for 


their book and art auction business, were influenced by the fact that their new home is 
practically in the uptown art centre. Extensive changes are now .being made, but the 
house will not be opened for the auction business until about January 1. The present 
quarters at 12 East Forty-sixth Street will be retained until that time. The company 
moved to the latter house from Twenty-ninth Street two years ago, and in that time has 
outgrown its first uptown home. 

Adjoining the Hyde residence on the Fortieth Street side was a vacant lot 1 upon 
which the lessees are building an extension. Over 40,000 square feet will be available 
for exhibition and sales purposes. A large room for the sale of paintings and other 
works of art wiil be on the top floor and the book-auction rooms will be on a lower 
story. The Hyde house with the lot adjoining occupies a corner 51.9 feet on Madison 
Avenue and 125 feet on goth St. (with a rear extension of the goth St. lot 25x40 feet). 


Hyde Residence on 4oth Street Corner Leased for the New Home of 


The Anderson Auction Company 


DOUGLAS TAYLOR 4&4 CO., NEW YORK 


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